DOCSLIB.ORG

MATERIALITY: the Seventh Australian Print Symposium National Gallery of Australia, Canberra 15, 16, 17 October 2010

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MATERIALITY: the Seventh Australian Print Symposium National Gallery of Australia, Canberra 15, 16, 17 October 2010 MATERIALITY: The seventh Australian Print Symposium National Gallery of Australia, Canberra 15, 16, 17 October 2010 Convenor: Roger Butler, Senior Curator Australian Prints and Drawings, National Gallery of Australia This symposium is supported by the Gordon Darling Australia Pacific Print Fund Friday 15 October 10.00–11.15 am Registration, viewing of gallery exhibitions, morning tea 11.15–11.30 am Welcome to Country: Paul House Welcome to the National Gallery of Australia: Simon Elliott, Assistant Director 11.30 am – 12.30 pm Keynote speaker: Glenn Barkley Glenn Barkley, Curator, Museum of Contemporary Art, Sydney, has a passionate interest in the replicated image–in all its various guises. He has curated the major exhibitions Multiplicity: Prints and Multiples (MCA 2006 and touring) and avoiding myth & message: Australian artists and the literary world (MCA 2009). 12.30–1.30 pm lunch 1.30–2.45 pm CONCRETENESS—of or relating to an actual, specific thing or instance Angela Cavalieri: Building stories Angela Cavalieri is a Melbourne based artist whose large-scale lino prints and books explore the art of writing in visual form, with literary, religious and historical narratives manifest as image. Angela has been awarded several prizes including the Geelong Print Prize Acquisitive Award, 2009, the Silk Cut Print Award, 2000 and the Shell Fremantle Print Award, 1999, and has undertaken several artist residencies, the most recent in Spain. Richard Tipping: Off the page Richard Tipping is well known for his wordplay. An artist, poet and academic, Richard is currently based in Newcastle. His most recognisable works force the viewer to rethink what they see and question the literal and contextual meaning of an otherwise banal statement. Emily Floyd: It’s because I talk too much that I do nothing … Emily Floyd is a Melbourne based artist who creates sculptural installations and prints that playfully explore the cultural landscapes of books, films and cultural theories. She was the recipient of the Australian Print Workshop Collie Print Trust Printmaking Fellowship in 2007. 2.45–3.15 pm afternoon tea 3.15–4.30 pm CORPOREALITY—the quality or state of being or having a body Del Kathryn Barton: Flesh is the right thing Del Kathryn Barton’s prints, drawings and paintings are distinguished by their technical skill and vibrant, figurative imagery. Using traditional techniques and contemporary design and illustration she explores both the fantastical and corporal realms of the body. Based in Sydney, Del won the Archibald prize in 2008. Adam Cullen: Etchings: a long awaited surface for inscription Adam Cullen’s works reveal a humour and pathos expressed through powerful mark making and bold colouration. He won the Archibald prize in 2000 and represented Australia at the 25th Biennale de Sao Paulo Iconografias Metropolitanas in 2002. Euan Macleod: Substance Euan Macleod produces dark, expressive paintings and prints, often featuring isolated figures in bleak landscapes. Originally from New Zealand, Euan lives and works in Sydney, and won the Archibald Prize for portraiture in 1999 and the Sulman Prize in 2001. Complementary evening event 6.00 pm Opening of PRINT BIG Presented by Megalo Print Studio and Gallery Venue: The Fitters Workshop, Printers Way, off Wentworth Avenue, Kingston. Saturday 16 October 10.00–11.00 am REALITY—the state of things as they actually exist Billy Missi: Billy’s journey Billy Missi is a founding member of the Mualgau Minaral Artist Collective, the first printmaking facility based in Kubin Village on Moa Island in the Torres Strait. Currently based in Cairns, Missi’s prints are published through Djumbunji Press at KickArts. Jon Cattapan: There but not there Jon Cattapan is a Melbourne based visual artist whose paintings, drawings and prints deal primarily with representations of the urban environment. In 2008 he was appointed an official artist for the Australian War Memorial and was deployed to Timor Leste. Julia Silvester: From a particular view, position and perspective Julia Silvester’s works, be they digital prints or etched glass, re-imagine and transform historical imagery and themes by looking at them from a new perspective. Julia is currently studying towards her Master of Arts at RMIT University, where she has also been a sessional lecturer since 2001. 11.00–11.30 am morning tea 11.30 am –12.30 pm PALPABILITY—capable of being handled, touched, or felt Paul Uhlmann: Folding darkness with light: books, paper and feeling Paul Uhlmann’s contemplative prints and artists books exude a sense of silence, intensity and wonder. Landscapes, atmospheres and everyday moments speak of a volatile and changeable world. Based in Fremantle, Paul is an artist and academic teaching at Edith Cowan University. Caren Florance (Ampersand Duck): Feeling the way through words Caren Florance runs the Book Studio at the ANU School of Art in Canberra. Ampersand Duck is her private press that produces fine press volumes as well as artists’ books and paper works. She has recently returned from a residency in New Zealand. Luke Sinclair (Sticky): How zines killed the internet Luke Sinclair is a founding member of Sticky and has coordinated the organisation since 2001. He worked as one of the Coordinators of Platform Artists Group between 2002 and 2006 and has worked extensively within Australia's zine culture. He is currently undertaking a Masters of Visual Arts Practice at Charles Sturt University looking at zines and home based art making practices. 12.30–1.30 pm lunch 1.30– 2.45 pm PERCEPTIBLE—capable of being perceived by the senses or the mind Domenico de Clario: settevoltecieco (in praise of darkness) Domenico de Clario has exhibited paintings, drawings, sculpture, performance, installations and prints nationally and internationally over the last three decades. He is currently Director of the Australian Experimental Art Foundation in Adelaide. In early 2010 he produced a series of lithographs at the Art Vault in Mildura. Lesley Duxbury: The art of not-knowing Lesley Duxbury uses both traditional and contemporary Print media— Photography and Printmaking—to make works that question our perceptions and recreate our experience of the natural environment, in particular the atmosphere and its phenomena. Lesley also explores the use of text in art. She is presently Program Director Postgraduate Research, School of Art, RMIT University Marian Crawford: Now you see it, now you don’t Marian Crawford is Studio Coordinator, Printmedia Programs, Faculty of Art and Design, Monash University, Melbourne; and has taught at RMIT University and the Victorian College of the Arts. Marian has a long association with the Print Council of Australia, and is a current Committee Member. She has a Master of Arts, RMIT University, Melbourne, and a twenty year exhibiting history. 2.45–3.15 pm afternoon tea 3.15–4.30 pm PHYSICALITY—of or relating to the body as distinguished from the mind or spirit Tim Maguire: Thin-ness Tim Maguire, originally known for his lithographs, has become a master in the recent technology of digital prints on a grand scale. Since 1992 he has lived and worked in France and the United Kingdom and exhibited widely throughout Europe, complemented by almost annual solo shows in Australia. Robert Jacks: New materials, new methods: the rubber stamp prints of Robert Jacks From the late 1960s Robert Jacks has produced an extensive series of artist’s books which explore variations in colour and/or formal arrangements of a defined series of imprinted marks - many utilizing the simplest of methods. He is also known for his collaborations in ‘mail art’, through series of hand- stamped postcards, Robert has held over 50 solo exhibitions. Mini Graff: The adventures of Joe and Josephine Mini Graff stencils and prints images on to a variety of media (walls, boards, vinyl, wallpaper) which strongly relate to the given environment and community, transforming an anonymous repetitive urban landscape into a unique and personal aesthetic experience. Mini Graff’s recent Suburban Roadhouse series explores concepts of trademark and ownership in public and domestic environments. Complementary evening event 5.30 pm Opening of Tiwi Shima: Tiwi artists’ first foray in Japanese-style woodcut prints Presented by Nomad Art and Northern Editions Venue: Nomad Art Gallery, Shop 11 M Centre, Palmerston Lane, Manuka. 7.00 pm Symposium Dinner, Gandel Hall, National Gallery of Australia Sunday 17 October 10.00–10.45 am Keeping in Touch Please contact Roger Butler if your organisation wishes to speak briefly (5 mins) in this session 10.45–11.15 am morning tea 11.15 am – 12.30 pm EXPERIENCE—the act of living through an event Rae O’Connell (Djumbunji Press) Djumbunji Press opened at KickArts Contemporary Arts in Cairns in 2009 and provides a centre of excellence and innovation in printmaking for artists from Far North Queensland, Cape York and Zenadh Kes (Torres Strait). Rae O’Connell has been Director of KickArts since 2002. Angus Cameron (Nomad Art Production): Footprints on Blue Mud Bay Nomad Art Productions is a Darwin-based gallery and fine art publishing business established in 2005 that commissions limited edition prints from Indigenous and non-Indigenous artists in a cross-cultural environment with a focus on promoting reconciliation, understanding, relationships and equity. Through Nomad Art Directors Angus and Rose Cameron work closely with community art centres across the Top End and Central Australia. Lucas Ihlein (Big Fag Press, Sydney) Big Fag Press is an artist-run printing collective in Sydney that produces prints for artists and activists in their networks on a rescued FAG 104 Offset Proof Press, called “The Big Fag”. End of Symposium program ______________________________________________________________ ADMINISTRATIVE DETAILS VENUE James O Fairfax Theatre, National Gallery of Australia, Parkes Place, Canberra (02 6240 6411) REGISTRATION (prices include GST) Full registration $250 NGA Members and concessions $190 Students $80 LUNCHES A light lunch, morning and afternoon teas will be provided on 15 & 16 October, morning tea only on Sunday 17 October.
Load more

Recommended publications
  • 2018 Adelaide Biennial of Australian Art
    DIVIDED ART GALLERY OF SOUTH AUSTRALIA WORLDS 2018 ADELAIDE BIENNIAL OF AUSTRALIAN ART The cat sits under the dark sky in the night, watching the mysterious trees. There are spirits afoot. She watches, alert to the breeze and soft movements of leaves. And although she doesn’t think of spirits, she does feel them. In fact, she is at one with them: possessed. She is a wild thing after all – a hunter, a killer, a ferocious lover. Our ancestors lived under that same sky, but they surely dreamed different dreams from us. Who knows what they dreamed? A curator’s dream DIVIDED WORLDS ART 2018 GALLERY ADELAIDE OF BIENNIAL SOUTH OF AUSTRALIA AUSTRALIAN ERICA GREEN ART ARTISTS LISA ADAMS JULIE GOUGH VERNON AH KEE LOUISE HEARMAN ROY ANANDA TIMOTHY HORN DANIEL BOYD KEN SISTERS KRISTIAN BURFORD LINDY LEE MARIA FERNANDA CARDOSO KHAI LIEW BARBARA CLEVELAND ANGELICA MESITI KIRSTEN COELHO PATRICIA PICCININI SEAN CORDEIRO + CLAIRE HEALY PIP + POP TAMARA DEAN PATRICK POUND TIM EDWARDS KHALED SABSABI EMILY FLOYD NIKE SAVVAS HAYDEN FOWLER CHRISTIAN THOMPSON AMOS GEBHARDT JOHN R WALKER GHOSTPATROL DAVID BOOTH DOUGLAS WATKIN pp. 2–3, still: Angelica Mesiti, born Kristian Burford, born 1974, Waikerie, 1976, Sydney Mother Tongue, 2017, South Australia, Audition, Scene 1: two-channel HD colour video, surround In Love, 2013, fibreglass reinforced sound, 17 minutes; Courtesy the artist polyurethane resin, polyurethane and Anna Schwartz Gallery Melbourne foam, oil paint, Mirrorpane glass, Commissioned by Aarhus European Steelcase cubicles, aluminium, steel, Capital of Culture 2017 in association carpet, 261 x 193 x 252 cm; with the 2018 Adelaide Biennial Courtesy the artist photo: Bonnie Elliott photo: Eric Minh Swenson DIRECTOR'S 7 FOREWORD Contemporary art offers a barometer of the nation’s Tim Edwards (SA), Emily Floyd (Vic.), Hayden Fowler (NSW), interests, anxieties and preoccupations.
    [Show full text]
  • Tauranga Art Gallery Trust Our Year in Review 2014 – 15 2 |
    Tauranga Art Gallery Trust Our Year in Review 2014 – 15 2 | Cover: Matthew Smith (Australia), Sailing by. Photo: Natural History Museum, London Tauranga Art Gallery Trust Our Year in Review 2014-15 | 1 1.0 Introduction 2.0 Highlights Contents 3.0 Governance 3.1 Chairperson report 4.0 Exhibitions 4.1 Touring with TAG 5.0 Education and Visitor Programmes 5.1 Education Programme 5.2 Public Programmes 6.0 Venue Hire & Events 7.0 Communications 8.0 Friends of the Gallery 9.0 Sponsors/Stakeholders 10.0 Staff 11.0 Financial Performance 12.0 Financial Statements and Audit Report 2 | 1.0 Introduction The principal activity of The Tauranga Art Gallery Trust (‘TAGT’ or ‘the Trust’) is to govern a public art gallery in Tauranga. The Tauranga Art Gallery (‘TAG’ or ‘the Gallery’) researches and presents exhibitions of historical, modern and contemporary art. This is the 17th Year in Review publication of the TAGT since its establishment in 1998. This report outlines the activities of the TAGT for the year ending 30 June 2015. Elizabeth Thomson, Invitation to Openness — Substantive and Transitive States (detail). Photo: Tauranga Art Gallery Tauranga Art Gallery Trust Our Year in Review 2014 – 15 | 3 2.0 Highlights 3.0 Governance 66,270 visitors The Trustees as at 30 June 2014 were: Peter Anderson (Chairperson) MCR, IMD, Laussane Sonya Korohina B.A. Grad. Dip in Arts 23 exhibitions Management. Judith Stanway M Soc Sci, BBS, FCA, AF Inst D. 4 exhibitions Mary Stewart Grad Dip Mgt. touring Mary Hackett Dip Bus Studies, RGON. simultaneously Deborah Meldrum BA (Hons), Dip Tchg.
    [Show full text]
  • View of Maitland from the Riverbank (With Apologies to Jan Vermeer and View of Delft) Published June 2006 to Accompany the Exhibition
    View of Maitland from the riverbank (with apologies to Jan Vermeer and View of Delft) published June 2006 to accompany the exhibition View of Maitland from the riverbank (with apologies to Jan Vermeer and View of Delft) 1 july - 20 august 2006 publisher maitland regional art gallery 230 high street maitland, nsw australia 2320 ISBN 0-9758369-2-7 paintings photographed by Michel Brouet © artists and maitland regional art gallery This catalogue is copyright apart from any fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act. 230 high tel email street (02) artgallery@ maitland 4934 maitland. maitland of nsw 2320 9859 nsw.gov.au city the arts po box fax web placing heart into maitland 220 (02) mrag 2005 - 2007 maitland 4933 .org nsw 2320 1657 .au View of Maitland from the riverbank (with apologies to Jan Vermeer and View of Delft) 1 july - 20 august 2006 maitland regional art gallery the artists archer suzanne fitzjames michael frost joe lohmann emma macleod euan martin claire mckenzie alexander pinson peter robba leo ryrie judith walker john r white judith Maitland Sixth City of the Arts 2005 - 2007 iew of Maitland from the riverbank (with apologies to Jan Vermeer and View of Delft) is an exhibition which has been developed at Maitland Regional Art Gallery for a Vvariety of reasons. Last year, in the James Gleeson retrospective exhibition at the National Gallery of Australia, I came across Gleeson’s painting of Delft, with homage to Jan Vermeer. I had seen this painting earlier in a private collection, and felt that Gleeson had not only captured his vision of Delft but also created an amazingly surreal new image of Delft which was a unique painting in its own right and not merely an adjunct to another artist’s creation.
    [Show full text]
  • Euan Macleod
    Euan Macleod Figure in a dissolving landscape Euan Macleod Figure in a dissolving landscape Euan and well known New Zealand photographer Craig Potton spent a few nights together near the top of the Tasman Glacier early this year. This is an extract from what is hoped will be a book and joint exhibition of their work based on the Southern Alps of New Zealand. “Euan and I have gone to the mountains for the last fifty years but only recently have we gone together. Although we sought out the same valleys and peaks we never actually met which is not surprising given that the Southern Alps is huge. Rather I remember the day, just a decade ago when I saw one of Euan’s paintings of an oversized climber on a summit ridge looking to the valley below. I already knew Euan’s work; his often solitary figures in wild landscapes with simple equipment, ice axes, ropes and boots all fused with intense energy into the oil-scapes, mindscapes of land, sea and sky that poured from his heart brush. Vivid pictures that stayed with me and one painting in particular of a man standing looking tentatively down from the summit of a mountain. He’d climbed so high. Where the hell was he to go from here? He was at the end of the line, literally, on his companion’s climbing rope and he had found a summit; and also he was now bound to make his next move. But what would be his next step in this beautiful blue but dangerous world of ice, sky and rock? How much did he long for the valley below?” Craig Potton 4 EUAN MACLEOD EUAN MACLEOD 5 Climb The sepia shadows that punctuate the alpine ridges which resembles a thread from an unstitched blanket and slopes in Euan Macleod’s recent paintings strike — an umbilical cord linking him to where he has been a familiar note with followers of his work on the far and, possibly, where he is going.
    [Show full text]
  • Museum of Modern Art Annual Report 2019 Heide Museum of Modern Art Heide Museum of Modern Art
    HEIDE MUSEUM OF MODERN ART ANNUAL REPORT 2019 HEIDE MUSEUM OF MODERN ART HEIDE MUSEUM OF HEIDE MUSEUM OF MODERN ART ANNUAL REPORT 2019 REPORT ANNUAL ANNUAL REPORT 2019 Heide Museum of Modern Art acknowledges the Wurundjeri people of the Kulin Nation on whose land Heide is located. We pay respect to their Elders past, present and emerging, and recognise the rich traditions and continuing creative cultures of all Aboriginal and Torres Strait Islander peoples of Australia. — art — architecture — landscape Terminus: Jess Johnson and Simon Ward Location Heide Museum of Modern Art 7 Templestowe Road Bulleen Victoria 3105 Australia Contacts T 03 9850 1500 [email protected] heide.com.au Editor Lesley Harding Photography Throughout by Christian Capurro Page 16 by John Gollings Pages 20–21 by Earl Carter Pages 38–39 by Sean Fennessy Pages 44–45 courtesy of Gorman Pages 68–69 by Kevin Pearson Pages 72–73 visualisation by KALEIDO Design Garry Emery and Jane Mooney Printing Gunn & Taylor Australia Disclaimer All information in this report is correct at the time of printing. All images copyright the artist unless otherwise stated. Contents 5 Message from the Chairman 10 2019 at a glance 12 About Heide 17 Planning for the future 18 Our program 24 Exhibition lenders 28 Our collection 40 Extending the experience 48 Financials 50 Fundraising 54 Thank you 60 Communications 66 Our people 70 Our environment I feel like this museum belongs to us … nestled in Bulleen it connects us with artists and their lives in a very immediate way.” Maggie Iovannella, Heide visitor 4 Message from the Chairman In 2019 the Heide staff and board undertook a review of the museum’s operations and imagined what its future might look like.
    [Show full text]
  • Lighting Fires on the Beach: Learning in Art Galleries in New Zealand
    Lighting Fires on the Beach: Learning in Art Galleries in New Zealand Esther Helen McNaughton A thesis presented in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Education ____________________________ UNIVERSITY OF CANTERBURY 2019 For my father Howard Douglas McNaughton whose enduring dedication to scholarship has inspired me to pursue my own academic journey. Acknowledgements My heartfelt thanks to all the participants for their huge contribution to this research, generously sharing their perspectives and time. Without their support it would not have been possible. Over the period of 2016–2019 almost all gallery educators in New Zealand contributed in some way. The interest and commitment shown has helped me to appreciate the value of the project. Most particularly I would like express my gratitude to the case study participants who worked with me in an ongoing way, always helpful despite their busy schedules. Thank you for welcoming me into your galleries, sharing your practice and taking the time to talk with me regularly. The supervision team for my PhD was superlative and I am deeply grateful to Prof Janinka Greenwood, who provided her vast experience and wisdom, and Dr Joanna Cobley, especially for her fastidious attention to detail. I was extremely lucky to have had such a team guiding me. Besides my supervisors I would also like to thank Ian Bowell for meeting with me on several occasions, offering his insight and expertise in the area of art education. My time at the University of Canterbury was enriched by the wonderful community of doctoral students from the Research Laboratory for Creativity and Change.
    [Show full text]
  • From China to Chess!
    an Hill I , 2010, scorched , 2010, scorched The Great War , RO I ORDE C & Sean ealy H Claire Claire coasters, beer bottles, hammers, 120 x 140 80 cm, courtesy timber, photograph by the artists and Gallery Barry Keldoulis, Sydney, www.unisa.edu.au/samstagmuseum Media Release From China to Chess! As the Samstag Museum of Art says farewell to White Rabbit – Contemporary Chinese Art Collection, the most highly visited exhibition of the year, Samstag welcomes two new exhibitions to complete its exciting 2011 program: Your Move: Australian artists play chess University of South Australia Bill Henson: early work from the MGA Collection, with selected recent landscapes 14 October – 16 December Adelaide SA 5000 55 North Terrace Your Move: Australian artists play chess has provided thirteen of Australia’s leading contemporary Samstag Museum of Art Anne & Gordon artists with the opportunity to engage with an ancient game to create new and intriguing works of art. ‘The game of chess is traditionally perceived as a subdued, cerebral and introspective activity’, exhibition curator Tansy Curtin said. ‘However, the creation of new artworks informed by the notion of the game of chess adds a new dimension to the game itself: chess acquires a new visual persona; beauty and drama alongside intrigue and threat become implicit aspects of the game’. This playful and thought-provoking exhibition engages with multiple concepts – from climate change, environmental degradation and the impacts of colonisation, to explorations of Australian icons – and vividly illustrates that in the 21st century, chess has lost none of its inspirational power. For many artists the game of chess is an allegory for battles throughout history; such as in the work of 2006 Samstag Scholars Claire Healy & Sean Cordeiro, whose work combines beer bottles and coasters on a scorched picnic table as metaphor for the First World War.
    [Show full text]
  • White Rabbit's Beyond the Frame
    Artwrite 47 ISSN: 1038-3719 Thank you to... Anna Lutkajtis Sub Editor The Art of Corporate Identity Joanna Mendelssohn Anna Lumsden Gokcen Altinok Short Pieces Co Editor PDF Team Sub Editor Sub Editor Australia Could Benefit From Some Ther- apy David Lyndon PDF Team Aleema Ash Sub Editor Why Art Goes Underground Copyright Team Sub Editor When Past and Present Goes Hand In Elka Okawa Hand Sub Editor Del Kathryn Barton - Satellite Fade-Out Amy Bortolazzo Nina Pether Image Team Whip Sub Editor A World of Unknown Becomes Everyone’s Sub Editor Politics on Display Story Renay Ringma Maragrett Cortez Copyright Team Image Team Sub Editor The Real National Cultural Policy Debate Sub Editor Performance Artist Runs Rings Around the Rest Dale Maxwell-Smith PDF Team Elisha Donath Sub Editor We’ve Lost Our Good Old Mama Articles for Children Editor Sub Editor Sophie Todd Letters Editor Amalie Frederiksen Sub Editor The Mad Square: The Impact of the Nazis Sub Editor Addressing the Problem of an Empty Life in a Developed Consumer Economy Marietta Zafirakos Letters Editor Skye Gibson Sub Editor Beyond the Storage Space: White Rabbit’s Short Pieces Co Editor Beyond The Frame Sub Editor The Sculptor Who Challenged Everything Special Acknowledgements Simonette Gill Sub Editor The Contemporary Art Gallery: Equal Dean Sewell, Tamara Dean, White Rabbit Gallery, Access for All? Art Gallery of New South Wales, Roslyn Oxley9, Sydney, Bronek Kozka, Niagara Galleries (Melbourne), Megan Hillyer Serial Space, Fran Barrett, Tom Smith, Valentina Whip Schlute, Arthouse
    [Show full text]
  • Surface Tension: the Art of Euan Macleod 1991 - 2009 …………………………………………………………………………………………………
    Surface Tension: the art of Euan Macleod 1991 - 2009 …………………………………………………………………………………………………. A Tweed River Art Gallery touring exhibition, curated by Gavin Wilson EDUCATION RESOURCE …………………………………………………………………………………………………. Prepared by Kent Buchanan This exhibition is supported by Visions of Australia, an Australian Government program supporting touring exhibitions by providing funding assistance for the development and touring of Australian cultural material across Australia. Surface Tension: the art of Euan Macleod 1991 – 2009 1/25 EDUCATION RESOURCE ………………………………………………………………………………………………… This resource provides biographical, analytical and art-historical information about and relating to the work of Euan Macleod for the exhibition Surface Tension: the art of Euan Macleod 1991-2009. The exhibition, curated by freelance curator Gavin Wilson for the Tweed River Art Gallery, presents a selection of paintings from various bodies of work, collected as a curatorial statement about the ongoing artistic practice of Euan Macleod. The resource features activities / questions / discussion topics for the K-12 Visual Arts Curricula for New South Wales, Victoria and Queensland. The exhibition will tour to six venues throughout 2010 - 11. S.H. Ervin Gallery, Sydney, NSW 12 November – 19 December 2010 Tweed River Art Gallery, Murwillumbah, NSW 28 January – 27 March 2011 Orange Regional Gallery, Orange, NSW 29 April – 12 June 2011 Mornington Peninsula Regional Gallery, Mornington, VIC 30 June – 7 August 2011 Newcastle Region Art Gallery, Newcastle, NSW 27 August – 16 October 2011 The University of Queensland Art Museum, Brisbane, QLD 29 October – 11 December 2011 The Resource also includes a blog (www.srfctnsn.wordpress.com), which is to be utilised by teachers and students as a portal for discussion about the practical and theoretical aspects of practice.
    [Show full text]
  • Eastlink Sculpture Park Booklet
    To use EastLink you’ll need a tag, DISCOVER THE non-tag account or EastLink trip pass. MAGNIFICENT If you already have a tag it will work ARTWORKS OF on EastLink. Otherwise contact us before EASTLINK’S or up to three days after your trip and SCULPTURE PARK we’ll help you with your toll payment. EastLink.com.au Phone (03) 9955 1400 CE-MK-B-045 JULY 2017 CE-MK-B-045 JULY EastLink.com.au CONNECTING YOU WITH THE ARTS HEIDE GALLERY ARTLINK IS A UNIQUE CREATIVE ENDEAVOUR THAT EASTERN FWY CONNECTS THE ARTS ACROSS THE CITY, THROUGH MELBOURNE CBD AUSTRALIA’S LONGEST SCULPTURE PARK. C IT EASTLINK Y LINK Victoria has a proud history of supporting visual arts. Many of our world-renowned artists are showcased in and around our state’s capital, both within galleries and in public spaces. EastLink connects you to the arts by linking Melbourne’s city with Heide Museum of Modern Art, Monash Gallery, McClelland Gallery and live performances at Frankston Arts Centre. MONASH FWY MONASH GALLERY ArtLink guides you on a journey through the highlights of EastLink’s unique open-air sculpture park. From the comfort of your vehicle, you can discover significant pieces of sculpture by internationally recognised Australian artists. The four large-scale artworks (see pages 6 and 7) located on EastLink’s As you travel on EastLink, you can see four large-scale artworks (see roadside can be seen from your vehicle pages 6 to 7). The artists who created these pieces designed them to as you drive on the tollway.
    [Show full text]
  • The Art of Euan Macleod 1991 - 2009 …………………………………………………………………………………………………
    Surface Tension: the art of Euan Macleod 1991 - 2009 …………………………………………………………………………………………………. A Tweed River Art Gallery touring exhibition, curated by Gavin Wilson EDUCATION RESOURCE …………………………………………………………………………………………………. Prepared by Kent Buchanan, Curator, Western Plains Cultural Centre This exhibition is supported by Visions of Australia, an Australian Government program supporting touring exhibitions by providing funding assistance for the development and touring of Australian cultural material across Australia. Surface Tension: the art of Euan Macleod 1991 – 2009 1/25 EDUCATION RESOURCE ………………………………………………………………………………………………… This resource provides biographical, analytical and art-historical information about and relating to the work of Euan Macleod for the exhibition Surface Tension: the art of Euan Macleod 1991-2009. The exhibition, curated by freelance curator Gavin Wilson for the Tweed River Art Gallery, presents a selection of paintings from various bodies of work, collected as a curatorial statement about the ongoing artistic practice of Euan Macleod. The resource features activities / questions / discussion topics for the K-12 Visual Arts Curricula for New South Wales, Victoria and Queensland. The exhibition will tour to six venues throughout 2010 - 11. S.H. Ervin Gallery, Sydney, NSW 12 November – 19 December 2010 Tweed River Art Gallery, Murwillumbah, NSW 28 January – 27 March 2011 Orange Regional Gallery, Orange, NSW 29 April – 12 June 2011 Mornington Peninsula Regional Gallery, Mornington, VIC 30 June – 7 August 2011 Newcastle Region Art Gallery, Newcastle, NSW 27 August – 16 October 2011 The University of Queensland Art Museum, Brisbane, QLD 29 October – 11 December 2011 The Resource also includes a blog (www.srfctnsn.wordpress.com), which is to be utilised by teachers and students as a portal for discussion about the practical and theoretical aspects of practice.
    [Show full text]
  • Going Public and Private Education Kit 2016
    MONASH UNIVERSITY MUSEUM OF ART & Ten cubed Education kit Going PUblic and private Photo: Gleneagles Secondary College students, Ten Cubed 2015 Ground Floor, Building F www.monash.edu.au/muma Ten Cubed Monash University, Caulfield Campus Telephone +61 3 9905 4217 Telephone +61 3 9822 0833 900 Dandenong Road [email protected] 1489 Malvern Road, Glen Iris 3146 VIC Caulfield East VIC 3145 Australia Tues – Fri 10am – 5pm; Sat 12 – 5pm Tues – Sat 10am – 4pm MONASH UNIVERSITY MUSEUM OF ART & Ten cubed Education kit INTRODUCTION: GOING PUBLIC AND PRIVATE During gallery visits to both a Public University Art Museum (MUMA) and Private Collection (Ten Cubed) students meet arts professionals and compare how these two types of organisations manage their collections and develop exhibitions. Participants examine methods used to display and promote contemporary art and see the storerooms at both galleries to find out how artworks are cared for behind-the- scenes. CURRICULUM LINKS Going Public and Private is for students and teachers of VCE Studio Arts, Unit 4 Area of Study 3, Art Industry Contexts. Students are required to visit at least two different exhibition spaces as part of their studies. This program encompasses two gallery visits in a single excursion. BOOKINGS Going Public and Private tours operate Tuesday-Thursday throughout the school year by appointment. Programs are free and bookings are essential. The program can be offered as a walking tour or schools may opt to use their own transport. Contact: [email protected] ABOUT THIS RESOURCE This resource has been developed as curriculum support material for teachers and students.
    [Show full text]